IN THIS ISSUE

From the President Samantha Smith p. 1

How to Donate to MEI p. 2

2016 MEI CONFERENCE Denver, April 7-9 REGISTRATION p. 3 Hotel Reservations p. 4 2016 Session Titles and

Presenters p. 5-6

MN SongWorks Workshop December 12 p. 7

MT SongWorks Workshop January 23 p. 8

2016 SongWorks Presentations Dates and States p. 9-10

2015 Emerging Pioneer EssaysA Conversation with Colleagues Beth Cain (TX) p. 11Staff Meeting SongWorks

Bronwen Fox (OH) p. 12

It’s Reindeer Time! Kate Smith (BC) p. 13

Jingle Bells, Play Party Peggy Bennett p. 14

From the Website Grumbler Sails Down the River

Marilyn Winter p. 15-16 SongWorks Books

songworkspress & Amazon p. 16

2016 Visiting Scholars Dr. Sheila Woodward p. 17

Dr. Lynn Brinckmeyer 2015 MEI Leadership p. 18MEI Information p. 19

News & Notes December 2015

From the President

Greetings all,

Can you believe it’s already December? It seems like just yesterday I was preparing myself for the first day of school! Now, I’m already preparing for my winter musical by teaching music, highlighting speaking lines, gathering props, painting backdrops, and trying to figure out a way to make it snow on my gymnasium stage! Here in Northeast Ohio, we’re finally starting to see some snow outside, and it really feels like the holiday season is upon us.

The advent of December can be a stressful time for many of us as musicians and music educators. We often have to direct or perform in multiple concerts, some very close to the holidays. With the hustle and bustle of rehearsals and deadlines, it’s easy to become swept up in the chaos and lose sight of what is really important. This year, while in the midst of my winter musicals, I plan to pause for a moment to take in the joy exuded through the performances. As a music educator, I feel that it’s truly a blessing that I am able to deliver the gift of music each day. Though I’ve already given my students the intangible gift of music, I’m starting to think about the tangible gifts I’ll give to my loved ones.

Have you started thinking about gift-giving? While you’re in the spirit, take a second to think about MEI. Did you know that all donations to MEI go to fund our travel grants for the conference? For some, receiving a travel grant has meant that they could attend the conference that they would not have been able to otherwise. I know that the travel grants have been a great help to me in the past, and I am grateful for those who were generous enough to donate. Why not give MEI a little gift this holiday season? No donation is too small, and it will be greatly appreciated. You will receive a letter for your Tax Records acknowledging your gift. See the next page for details on how to donate easily through our website.

So,  in  the  spirit  of  giving,  I  hope  that  December  brings  you  joy,  laughter,  and  a  li;le  bit  a  peace  and  quiet.  

Have  a  wonderful  holiday  season!

Sammi

Samantha SmithRocky River, OH

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RESERVE ROOMS using this Direct Booking Link to receive MEI rates. Enter the dates and check availability. http://www.holidayinn.com/redirect?path=hd&brandCode=hi&localeCode=en&regionCode=1&hotelCode=DENMF&_PMID=99801505&GPC=MED

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2016 MEI ConferenceApril 7 - 8 - 9Denver, CO

Conference ChairRuthanne Parker

MEI President-Elect

AnnouncingSongWorks: Basics and Beyond

2016 Conference Sessions and Presenters!

“I Don’t Care...” A Folk Song Mixer to Break the IceBronwen Fox, OH

Pick It Up: The Importance of Anacrusis in English Folk Songs,and Its Absence in Hungarian Folk Songs

Max Mellman, NJ

Sounds & Symbols: Language Patterns and the DuetsDouglas Bartholomew, MT

Beyond Movement BasicsJeanette Potvin, MN

Sing, Dance, Learn, and Smile through SongWorksYuka Inoue, Japan

SongWorks for InstrumentalistsDeb Graf, MN

Mussorgsky and MeVicky Suarez, TX

Oh, the Places You’ll Go: Where a Sturdy Song Can Take YouBetty Phillips, OR

cont’d next page

Get the Children MovingBethany Beaudry, MB

SongWorks and Executive Function: Why What We Do is So Important for All Children

Aimee Newman, CO

How to Deconstruct a Story: A SongWorks Approach to LiteracyBeth Cain, TX

Mapping Again: The Beat in the FlowSusan Kenney, UT

Playfulness as PracticePeggy Bennett, MT

Songs about SallyFleurette Sweeney, BC and Kate Smith, BC

Opening the Doors to LiteracySandy Murray, BC and Ruth Hodgins, BC

Play Song Chunks on Your UkuleleJudy Fjell, MT

Talking about SongWorksAlice Nordquist, MD

Music EdVentures Communities: Planting SeedsJeanette Potvin, MN and Samantha Smith, OH

MAKE PLANS NOW TO ATTEND!REGISTER ONLINE at

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Minnesota Music EdVentures

SongWorks in the Music Classroom

Saturday, December 12, 2015

Location

St. Catherine University Gate 3

Music Building Room 202

2004 Randolph Ave. St. Paul, MN

Time

9:30 – 11:30

Cost FREE

RSVP anne.e.mendenhall@gmail.com

CEUs will be available

Consider staying for a light lunch afterwards!

Indicate in your RSVP if you will be staying for lunch.

~Thank you~

You are invited to a FREE workshop filled with ideas to enhance your

classroom music studies.

Experiential learning with added discussion will bring light to the application of the principles and practices of SongWorks in the music classroom.

• Folk Song Games • Rhythm & Melody Studies • Assessment ideas • Notation skills • Audiation skills

Learn More: www.musicedventures.com

Find us on Facebook: Music EdVentures, Inc

Playfulness and vibrancy you will experience at the workshop . . .

• Activities that engage and establish an environment for learning • Games that embody the importance of social interaction among learners • Songs, classics and study that directly apply to your classrooms, PK-5 • Music that is simple and sturdy • Nursery rhymes that elevate expressive speech and flow of sound • Sound skills (ear skills) that evolve from singing • Literacy that moves from song to movement to symbol-making and symbol-reading • Movement that maintains musicality and prepares literacy • Notation that engages auralacy, preserves musicality, and facilitates music-reading • Classics that flow from folksongs to masterworks • Instruments (*ukuleles) that transition sound study into accompaniment and improvisation • Reflections that consider the ways we think, behave, and speak to learners

*If you have an ukulele, please bring your own, but extras will be available so that all can play.

Although(reserva.ons(are(not(necessary,(please(let(us(know(you(are(coming.(Contact(Peggy(Benne<((((Email:(peggydbenne<@gmail.com(

Forward'this'informa/on'on'the'FREE'workshop'to'anyone'who'may'be'interested.'(OPI'credits'pending)''Bring'your'friends.''

ong orks

Music EdVentures in Montana presents a FREE day of professional development in

ong orks

SATURDAY, JANUARY 23, 2016 10AM - 3PM Registration begins at 9:45. BYO lunch or order takeout with the group.

HELENA - ST. PAUL’S UMC Choir Room (Cruse & Lawrence)

Our Presenters Peggy D. Bennett, PhD Professor Emerita, Oberlin Conservatory Douglas Bartholomew, PhD Professor Emeritus, MSU-Bozeman

Judy Fjell, Singer-Songwriter-Teacher, Helena

WWSS Playful Teaching Vibrant Learning

SongWorks in 2016Workshops, Inservices andState Music Conferences

Helena, MontanaJanuary 23, 2016 SongWorks: Playful Teaching, Vibrant Learning Judy Fjell, Peggy Bennett, and Doug Bartholomew

Taylors Falls, MinnesotaJanuary 25, 2016 Staff Development Teachers Teaching Teachers: Sharing Our Strengths Peggy Bennett

Ohio MEA Conference, CincinnatiJanuary 28, 2016 Feedback that Feeds: Connecting What We Think and Say Peggy Bennett

January 29, 2016 Feedback that Feeds: Connecting What We Think and Say Peggy Bennett with Samantha Smith

I Can Sing! I Can Read!: Early Literacy in Early Childhood Peggy Bennett with Samantha Smith

Texas MEA Conference, San AntonioFebruary 11, 2016 Vitality: Reviving the Life in Your Teaching Peggy Bennett with Vicky Suarez

Minnesota MEA MidWinter ClinicFebruary 12, 2016 Take a Look in My Classroom: Surprises from Closely Observing Students with Special Needs Molly Feigal

COME Hear our

SongWorkspresenters

Emerging Pioneers complete four assignments to fulfill their Fleurette Sweeney Fellowship award. Beth Cain, 2015 Emerging Pioneer, shares her #4 assignment.

A Rush to Literacy: A Conversation with Colleagues

After my article, “A Rush to Literacy: SongWorks to the Rescue in a Fractured Language Arts Classroom,” appeared in the October 2015 issue of the MEI newsletter, I decided to invite other language arts teachers to read and discuss the ideas presented in the article.

Our discussion group met on Wednesday, October 28th, to talk about the issues presented in the article. I was quite nervous about the meeting, fearing that my thoughts might have seemed presumptuous to more experienced language arts teachers, but I was pleasantly surprised at the positive reaction and insightful comments made during our session.

Of course, my remarks about the mandatory state testing and its effect on ELA instruction resonated strongly with each teacher. All were in agreement that the standardized testing hampers a teacher’s ability to creatively teach to the needs of their individual students. Additionally, all teachers agreed that students lose their love of literature and reading through constant drill, repetition, and the mounting test anxiety that culminates each spring with a fresh round of assessments.

One particular colleague of mine, who teaches a high school level Children’s Literature class remarked that he was of the opinion that children enter school with a love for language and its melodious sounds (he was referring to Mother Goose rhymes and nursery rhymes), but that teachers “screw it up” because they focus on mechanics and not the sound, rhythm, and feel of the language. He was of the opinion that this resulted in the story and meaning getting lost in the shuffle. Another teacher of 8th grade English pointed out that the communal power of the story was a valid idea and seemed similar to the way a piece of music might be rehearsed. Several comments were made regarding the SongWorks way of teaching: how it seemed to exemplify good teaching practices and how it was relevant to the kind of interaction that English teachers strive for in their classroom. Although it was a stretch for many of these teachers to visualize their subject through the lens of music education, I believe that some really did see the connection.

Something that struck me was how several teachers, when I referred to music education, immediately had negative comments to make about their own musical abilities. It was like they refused to see beyond their self-perceived failure to sing/play an instrument and realize that the SongWorks approach is about creating a learning environment. This certainly gives me something to think about as I consider sharing my ideas with a larger group of ELA teachers.

The discussion was enlivening, interesting and revolved around the frustrations of these mostly upper level English teachers who believe their students had already lost interest in literature. I was thankful when one colleague reassured me that he did not believe that my paper was offensive, and that these things must be said. He added that my phrasing was cordial and professional…….. Whew!! That was a relief! §

Beth Cain, Midland, TX received a bachelors degree i n m u s i c e d u c a t i o n , a m a s t e r s d e g r e e i n Humanities, and credits for doctora l work in music educa t i on , Human i t i es , gifted-talented education, and English. Beth has taught s t u d e n t s r a n g i n g f r o m Kindergarten through the university level, and currently teaches fifth and sixth grade English at an independent s c h o o l i n a d d i t i o n t o Human i t i es a t M id l and College.

Staff Meeting SongWorksDespite my limbs shaking at the prospect of addressing a sometimes-impatient-elementary-school-staff, my fifteen-minute SongWorks presentation at our November staff meeting was a success. I was hesitant to lead an activity with twenty tired teachers, but it seemed the best way to share information. What better way to learn than to experience?

I used a simple five-slide PowerPoint presentation, but the bulk of the presentation was teaching the Paw Paw Patch song and demonstrating various ways to elicit listening responses. I prepped the activity with a few words about SongWorks and how its principles and practices can be used to teach any subject. Then, I asked the teachers to get into a standing circle by the cadence of the song and, with a few sheepish grins, they did.

Once in a circle, I asked the teachers to listen for the character in the song, then took a “quiet hand” answer. For their third hearing I asked where "pretty little Suzy" was, and most teachers were already singing the song with me. We came up with a motion for “where” and a location in the room for the paw-paw patch (determined by our

suddenly shy principal, Mr. Eibel). We sang and acted the song, then tapped each syllable. Teachers practiced audiation by hearing the song in their heads while tapping the rhythm, then we used antiphonning to check our level of understanding. Finally I challenged the teachers to sing the song but listen carefully while I sang something different. I quietly sang "Skip to My Lou" and asked questions about what words were heard. We then split into two groups and performed both partner songs, then switched. Teachers chose either Paw Paw Patch or Skip to My Lou to sing back to their seats.

Because my time was short, I ended the presentation with a list of strategies that I used to engage listening instead of taking the time to create the list as a group. The strategies included questioning, story plopping, movement, playful challenges, audiation, syllabic tapping, and antiphonning. While I spoke, I noticed teachers nodding, suggesting that these strategies were powering some light bulbs, or perhaps reminding teachers of methods they already used with their students.

When I sat down, legs still trembling, my principal thanked me for the presentation and kindly gave a "testimonial" that he has seen almost every class in my music room (our school is third- to fifth-grade), and that students have been engaged and animated as they move and sing and show joy in the music. That was good to hear! A teacher told me the next day that she enjoyed my presentation and, although it was just the tip of the iceberg, I felt my fifteen minutes was a successful way to show my colleagues strategies to encourage close listening in any subject. §

Emerging Pioneers complete four assignments to fulfill their Fleurette Sweeney Fellowship award. Bronwen Fox, 2015 Emerging Pioneer, shares her #4 assignment.

Bronwen Fox is in her sixth year of teaching general music and choir to grades 3-8 in Oberlin, Ohio. With undergraduate and graduate degrees at Oberlin College and Conservatory, Bronwen was a College Teaching A s s i s t a n t i n t h e MusicPlay program while she competed her Master of Music Teaching degree. Now, she is a MusicPlay parent and attends c l a s s e s w i t h h e r d a u g h t e r M a r i a . Bronwen and family live in Wellington, Ohio.

IT’S REINDEER TIME!

As a TOC (Teacher On Call or Substitute in the US) for the Burnaby Schools, I know that when I am called to teach in December I need to have some “holiday” musical activities up my sleeve. I am a fan of teaching with a theme, especially when TOC-ing. It helps me remember what activities I have done at various schools. Making plans now, I have just completed a little unit with a reindeer theme.

From the list of activities, I create a plan that has a beginning, middle, and end for the various grade levels and Music Blocks. The periods vary from 30 to 50 minutes and I sometimes see nine different classes from K-7 in one day. Obviously, the activities are not deep or developed study, but they certainly work! The activities that I share with you are geared towards primary to junior students -- Kindergarten to grades 3 or 4.

In conversations with the MEI News editor, we discussed our concern that in many of our readers’ schools songs or words that name holidays are prohibited. We concluded that my song variations would likely stimulate ideas for alternatives that would be acceptable in many of your schools.

My December collection:

1) Children’s book, The Wild Christmas Reindeer, story by Jan Brett This is a wonderful story with beautiful pictures. It starts on December 1st and follows the adventures of Teeka, the little girl who has been asked by Santa to round up the reindeer and train them to pull his sleigh. The reindeer have been roaming free since last December and Teeka has to “catch” them, bring them to the stable, and train them to pull together. Her first tries are not successful. The reindeer panic and get tangled in their antlers. Patience and kindness proves to solve the problem!

2) Let’s Catch a Reindeer 3) I’m Thinking of an Animal (song and game, Let’s Catch a Rooster) (I’m Thinking of Someone, describing reindeer) Let’s catch a reindeer, yes, let’s do Let’s catch a reindeer, yes, let’s do 4) Reindeer Run! (song, game as Rabbit Run) Christmas is coming, Hip, hip, hip hooray! Reindeer run on the frozen snow, who told you so? Christmas is coming, he’ll pull Santa’s sleigh! Reindeer run on the frozen snow, how do you know? I caught a reindeer, uh huh

5) Here Comes a Reindeer I caught a reindeer, uh huh (tune and game, Ginger Snap) I caught a reindeer, Oh! Here comes a reindeer across the tundra across the tundra across the tundra Here comes a reindeer across the tundra on Christmas day. (or) on a wintry day.

6) There’s a Reindeer in My Hand (song and play as Penny Song, pass a small reindeer.)

7) The Reindeer and the Tree (song, play as The Button and the Key. Other versions)

8) Christmas ABC Song (from Kinder Christmas Collection by Denise Gagné)9) Reindeer Like to Boogie ((from Kinder Christmas Collection by Denise Gagné)

10) Rudolph, the Red-Nosed Reindeer, including the song introduction with the reindeer names. To aide English Language Learners, show a picture book like my childhood treasure, a 1950s era story book.

Other variations for songs include There’s a Santa (or Snowman) in my Hand (Penny Song), and The Present and the Tree or The Snowman and the Tree (The Button and the Key). We danced Round and Round the Christmas Tree (Old Joe Clarke), also played it seated or standing while passing the tree by holding hands up ̂ to show the tree moving around the circle, and finally Here Comes a Little Elf Through the Toy Shop (Ginger Snap). §

Kate SmithPort Coquitlam, BC

Peggy Bennett (MT)

JINGLE BELLSA Play Party Game

“Though danced when Santa is just around the corner, [this activity] can also be used to ‘cool things off’ at parties in July.

The most fun is when a tiny ‘jingle’ bell is worn on each wrist.” (Rohrbough, 1940, p. 115)

Formation: Single circle of couples, all facing in to the middle.

1. Dashing through the snow in a one horse open sleigh

2. O’er the fields we go, laughing all the way.

3. Bells on Bobtail ring, making spirits bright.

4. What fun it is to ride and sing a sleighing song tonight.

5. Jingle bells! Jingle bells!

6. Jingle all the way!

7. Oh what fun it is to ride in a one horse opensleigh.

1. All walk into the center 4 steps and back out.

2. Slide quickly to the left around the circle 8 slides.

3. Everyone into the center and out again.

4. All slide 8 to the right around the ring.

5. Facing partners, clap own hands 3 times in front and 3 times behind the back.

6. Clap own hands 4 times in front again and, on 5th clap, strike both hands of partner (moving to melodic rhythm).

7. Swing partner (two hand swing or elbow hook,) ending facing your corner (with back to partner.)

Rohrbough, L. (1940). Handy dandy play party book. Revised by Cecilia Riddell 1982. Printed and published by World Around Songs, Inc., Rt. 5, Box 398, Burnsville, North Carolina 28714.

About Play Parties

Around the turn of the century in America, the play party was one of the most popular forms of social gatherings and entertainment. Similar to the folk traditions of Scotland, England, Ireland, and Germany, play parties were simple social occasions which drew young and old to a common gathering place to sing, play, and dance together. The fellowship, frolicking, and celebration that the play parties provided helped balance the stark isolation and lonely existences that many of the pioneering Americans felt, especially those in rural settings.

No instruments or equipment were needed for the play parties. Participants accompanied their games by singing, and this simplicity was well suited to the lives they led. The emphasis on play and the focus on singing to accompany that play also paralleled the strong currents of religious conviction that shaped many social occasions in those days. Quakers, Disciples, Methodists, Baptists, and Presbyterians all agreed that both dance and the fiddle were instruments of the devil. Therefore, the play party fit well into the social fabric of the 1900s, providing an acceptable venue for the innocent and unsophisticated singing games. “So it came that these charming dances, carefully referred to as ‘play parties,’ brightened life on the American frontier.” (Rohrbough, p. 3)

8. Repeat 5, 6, 7 with the corner partner, this time ending the swing so that each person has a new partner on his or her right side as all face the center.

Grumbler Sails Down the River

About this time last year my friend, Grumble, sent me an invitation to join him for a visit to a Great Big House in New Orleans. He mentioned that it would take several days to reach the big house so, for our nourishment, he would bring Hot Cross Buns and apples from his three apples trees. He wrote that there were still plenty of apples even though some old lady had come a pickin’ them up. He mentioned he had spent all his money for those buns but he knew I would agree they were well worth the two pennies.

So, bright and early on a Tuesday morning we boarded a little vessel to sail down the Ohio to the Mississippi River then on to New Orleans. Three weeks later we rounded the bend. THERE IT WAS....the Great Big House! We could see it from miles away, for you see, it was forty stories high.

As we approached the dock for landing we saw a man with one arm around his wife and the other ‘round his daughter. The wife wore striking golden slippers. Three (men) in the Middle of the crowd came to help us out of the boat. Grumbler gave them some Hot Cross Buns. The men said the buns were so good that we’d be friends for life.

Old Grumbler beckoned, “Come and Follow Me,” he shouted as we went in a line into the Great Big House and took a seat to watch the festivities.

Suddenly a pretty Bluebird flew through an open window and landed on Our Old Sow. There was plenty of room for landing as the old sow was three foot two across the back. The old sow grew very silly because the bird’s feet tickled her back. She rolled over and laughed, “Ky-mo-ho-mo-ke-mo.” Johnny, the Bluebird became tired of all this nonsense so went hippety hop right back out that window.

Along came a girl with her little lamb. Oh my gosh, I KNEW the little girl. It was our good friend, Mary Stockum. She was scolding as she went.…… followed me to school…..made children laugh and play…..teacher turned you out…… The lamb seemed not to mind the scolding for obviously he LOVED following Mary everywhere she went.

I turned to Grumbler and said, “How did you know this was going to be such a fine show. Who told you so?”

The next thing I knew a few High Stepping Horses jiggety jogged into the arena. The puzzling thing was that a Rabbit Run along beside them high stepping right along with the horses as they performed for the crowd. This was puzzling for sure!!!

Suddenly, I realized Grumbler was gone. I looked around for him. Then I saw him run into the arena, grab the rabbit, jump astride the High Stepping Horses, and sing, “I caught a rabbit, uh huh, I caught a rabbit, OH!” The crowd went wild as Grumbler, the rabbit, and the beautiful horses took a final jiggety jog for all to see. I was awe stuck. I had not realized that Grumbler was to be the star of this event. It turned out to be worth Sailing Down the River.

We slowly walked back to the dock to sail up the river. The man with his daughter and wife with the golden slippers waved, “Fare thee well.” The Three in the Middle ushered us into our vessel for our return trip. As our ship sailed toward home, together they all serenaded us with an awesome rendition of partner songs, Scotland’s Burning, Hot Cross Buns, Mary’s Wearing Her Red Dress, and Muffin Man.

We cruised slowly back up the river and finished off the Hot Cross Buns and apples. Then Old Grumbler lay down with a smile on his face knowing that he had made my journey to the Great Big House in New Orleans a trip of a lifetime.

The End

cont’d next page

Marilyn WinterSun City, AZ

From the Website

SongWorks by Peggy D. Bennett and Douglas R. Bartholomew

SongWorks I ~~ $40SongWorks II ~~ $40

SongWorks I & II ~~ Bundle $75 plus shipping

Contact songworkspress@gmail.com

All other books authored by Peggy D. Bennettare available on Amazon

Good News! Deb Graf is posting the second set of Sturdy Songs as you read this newsletter. For sure we have found a masterful website technician in Deb. She will be posting new items as soon as they are available so our website will always be up-to-date. Thanks, Deb for all your hard work.

Thank you to Doug Bartholomew for notating the songs for this part of the Sturdy Song collection and to the many people who made MP3 recordings of the songs.

Coming in the next few weeks! Keep checking the Member Access area of the MEI website for more Sturdy Songs: Button and Key Circle Left Drunken Sailor/Seasick Sailor Windy Weather Tideo Let’s Catch a Rooster Chicken on a Fence Post

Happy reading, playing, and singing! ~ Marilyn Winter

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Dr. Sheila Woodward is Chair of Music and Associate Professor of Music at Eastern Washington University, USA. She is President of the International Society for Music Education and serves on the Editorial Board of the International Journal of Music Education. She is a native of South Africa and earned her Ph.D. from the University of Cape Town and a Performer’s Licentiate in Organ from the Associated Board of the Royal Schools of Music. She previously taught at the University of Southern California, the University of South Florida, and the University of the Western Cape.

Dr. Woodward has previously served on numerous professional boards; among them being two terms on the ISME Board of Directors (2004-2008), three terms on the ISME Early Childhood Music Education Commission (1992-1998, two as Chair), two terms on the NAfME Council for IN-ovations (2012-2014, one as Chair), and two terms on the NAfME Executive Board of the Society for General Music (2002-2006). Dr. Woodward’s research focus is Music and Wellbeing. She explores this from before birth to adulthood, with

studies on the fetus, neonate, premature infant, young child, at-risk youth, juvenile offender and adult musician. She has published numerous articles, in addition to chapters in Elliott’s Praxial Music Education: Reflections and Dialogues (Oxford, 2005) and in Malloch and Trevarthen’s Communicative musicality: Narratives of expressive gesture and being human (Oxford, 2009).

Dr. Woodward has been awarded generous grants to promote international exchange programs, bringing South African musicians to perform in the USA alongside students and professors, and she has directed numerous outreach programs in both countries. §

In 2015, the leadership of MEI voted to initiate a Visiting Scholars program. Each year select scholars will be invited to our conference for the purpose of exposing them to the principles and practices of SongWorks and the activities of our organization. Visiting Scholars are chosen based on their leadership in and contributions to education, as well as their commitments to excellence in learning and teaching. Throughout the conference, Visiting Scholars will observe our presentations and interact with attendees. We are very, very excited to introduce you to our very first Visiting Scholars.

THE 2016 VISITING SCHOLARS

Dr. Lynn M. Brinckmeyer is Professor of Music and Director of Choral Music Education at Texas State University. During 2006-2008 she served as President for The National Association for Music Education (formerly MENC). Past offices include: President for the Northwest Division of MENC, Music Educators Journal Editorial Board, Washington Music Educators Association General Music Curriculum Chair and Conn-Selmer University Advisory Board. She also served as a Music Expert on the Disney, “Let’s Play Music” Site. In addition to chairing the Eastern Washington University Music Department for six years and conducting the EWU Concert Choir, Dr. Brinckmeyer received both the PTI Excellence in Teaching Award and the CenturyTel Award for outstanding faculty. Other awards include the MENC Lowell Mason Fellow, Washington Music Educators Association Hall of Fame, the MENC Northwest Division Distinguished Service Award and Eastern New Mexico University’s Outstanding Alumni Award.

Dr. Brinckmeyer recently published Wander the World with Warm-ups with Hal Leonard Publishing; her book Advocate for Music with Oxford University Press is available January, 2016. Dr. Brinckmeyer is also a contributing author for Interactive Music – Powered by Silver Burdett, The Music Director’s Cookbook: Creative Recipes for a Successful Program and The Choral Director’s Cookbook: Insights and Inspired Recipes for Beginners and Experts. She founded the Eastern Washington University Girls’ Chorus while teaching at EWU. She also served as Artistic Director for the Idaho State Children’s Chorus in Pocatello, Idaho and the South Hill Children’s Chorus in Spokane, Washington. Dr. Brinckmeyer is a co-founder and Artistic Director for the Hill Country Youth Chorus in San Marcos, Texas.

Dr. Brinckmeyer’s degrees include a Bachelor of Science in Education and Master of Music Education from Eastern New Mexico University, and a Ph.D. in Music Education from The University of Kansas. In New Mexico she taught elementary music and middle school choir, then moved to higher education in the Pacific Northwest. At Texas State University Dr. Brinckmeyer teaches graduate and undergraduate courses in choral music education. She serves as Associate Director for the School of Music, Coordinator for Music Education, and directs the Texas State Women’s Choir. Each summer Dr. Brinckmeyer teaches classes for Will Schmid’s World Music Drumming workshops. She has conducted all state choirs and honor choirs, lectured, presented master classes and performed in forty-nine states in the United States and sixteen different countries, including China, Brazil, South Africa and Cuba. §

Director for USAVicky Suarez

Richardson, TX

Director for JapanEiko Oyoko

Nara City, Japan

Director At LargeJake Harkins

Falls Church, VA

SecretaryBetty PhillipsCorvallis, OR

Director At LargeEsther Campbell

Olympia, WA

TreasurerAnna LangnessBroomfield, CO 

PresidentSamantha SmithRocky River, OH

President-ElectRuthanne Parker

Wyncote, PA

Director for CanadaKate Smith

Port Coquitlam, BC

Past PresidentLeah SteffenShafer, MN President-Elect Apprentice

Taryn RaschdorfVirginia Beach, VA

2015 Music EdVentures Leadership The Board of Directors

The Purpose of Music EdVentures, Inc. is to search for and practice ways of making music and interacting with people that preserve and celebrate the dignity of both. As a guiding principle, this purpose will focus our work on:

1. Practices that foster interactive, facilitative learning environments.

2. Strategies that empower the learner within the context of music experience and study.

3. Networks that encourage collaboration between diverse disciplines, professionals, and interest groups.

2016 MEI CONFERENCE

April 7, 8, 9Denver, CO

Any member of Music EdVentures, Inc. can receive a copy of the MEI Policies a n d P r o c e d u r e s M a n u a l b y contacting MEI Past President Leah Steffen at leahrsteffen@gmail.com.

News and Notes is the monthly communication of Music EdVentures, Inc. (MEI). Regular features will keep members and friends up to date on coming events and the latest teaching techniques, tips and strategies. Submissions are due on the 15th of the month prior to publication and may be submitted months in advance, indicating the month in which they are to be published. The committee reserves the right to select material to be published according to length and appropriateness. Articles should be 200-325 words. Visuals should be scanned and submitted as pdf or jpg files. Submissions may be sent to alangness@gmail.com and may be edited to accommodate space limitations.

Support the Mission of MEIwith membership dues or donations!

$45 Regular $75 Sustaining $100 Patron $20 Student

Join or Donate online at www.musicedventures.org or Make checks payable to MEI in (USD); Include your name, address, phone and email. Send to Anna Langness, Treas. 1179 Lilac St. Broomfield, CO 80020

MEI Officers

President ! Samantha Smith, OHPresident-Elect ! Ruthanne Parker, PAPresident-Elect Apprentice ! Taryn Raschdorf, VAPast President ! Leah Steffen, MNSecretary ! Betty Phillips, ORTreasurer ! Anna Langness, COBoard of Directors ! Jake Harkins, VA ! Esther Campbell, WA ! Vicky Suarez, TX ! Eiko Oyoko, Japan ! Kate Smith, Canada

Website Chair ! Pam Vellutini, ORNewsletter Chair ! Anna Langness, COAcademic Coordinator ! Leah Steffen, MNEmerging Pioneers Advisor ! Peggy Bennett, MTCommunications Chair ! Lisa Schoen, MN2016 Conference Chair ! Ruthanne Parker, PA

SAVE THE DATE

2nd weekend in April